Class Painting IV

This CU has two action domains: one is Portrait Painting and the other is Public Art, the relationship between Art and the community. Each domain of action has the accompaniment of the respective teacher.

Not applicable

Portrait: 1 visual research: images that define the canon and variations of the portrait genre presented in PowerPoint with the respective technical sheets and definitions. 1 observation exercise based on the structure, unfolding and updating of the Portrait. The representation from the (direct) observation of the model assuming canonical compositions: collective portrait, full body, ¾, mythological, figure, equestrian, self-portrait (of oneself or as another). The adequacy of the format and framing to the size of the support and the scale of representation of the portrait(s). Body and facial expression. The mask and the character. 1 Personal project 1 Public art project: 1 mural painting with project methodology (individual proposal with collective execution): - research - site-specific exploratory exercises - studies - formalisation of the proposal - on-site execution DCAM exhibitions: Philoxenia, Over&Out and Starting Point (participation, assemblies, surveillance and guided tours) - Portfolio

The CU has 2 modules: one in the field of Portraiture and the other in the field of Public Art and the relationship between Art and the Community. In the module dedicated to Portraiture, students carry out three projects: one of historical visual research, one of Painting and one of Personal Project. Each project is presented with examples and objectives and is monitored by a tutorial during class time. In the module dedicated to Public Art and the relationship between Art and the Community, there are work phases which are: the understanding of the space and the community where one is going to intervene, the idea and the realisation of proposals (perhaps with mock-ups), the approval by the institution hosting the project and finally the group realisation of the winning project. Depending on the number of students/class, the projects are either individual or collective. Monitoring takes place in the classroom (tutorials) and on site visits, prior to and during implementation. Portfolio .

BABO, M. A. (2003) Olhando o olhar no retrato. In Revista Comunicação e Linguagens ¿ Imagem e vida, nº 31. Lisboa: Relógio d¿Água DUBUS, P. (2006) Qu¿est-ce qu¿un portrait?. Paris: Insolite. MAIA, T. (2009) Assombra. Ensaio sobre a origem da imagem. Lisboa: Assírio & Alvim. NANCY, J.-L. (2000) Le Regard du Portrait. Paris: Galilée. PONTÈVIA, J.-M. (1993, 2ª ed.) La Peinture, Masque e Miroir. Écrits sur l¿art et pensées détachées. Périgueux: William Blake & Co. RAMOS, A. (2010). O desenho da presença. Lisboa: Campo da comunicação. RICHTER, G. (2009). Fotografías pintadas. AV Proyectos BISHOP, Claire (2012). Artificial Hells ¿ Participatory art and the politics of spectatorship, Verso: London, New York KWON, Miwon (2002). One place after another. Site-specific art and locational identity. Cambridge Massachussets: The MIT Press LACY, S. (1995). Mapping the terrain: new genre public art. Seattle, Washington:  Baypress LÈGER, F. (1965). Funções da Pintura, Lisboa: Bertrand